BCM114: Contextual Essay #maddymakesit


My digital artefact is a project by me, Maddy Findlay, titled ‘Maddy Makes It’. Maddy Makes It is a YouTube channel with craft videos and travel vlogs, with an accompanying Instagram page @maddymakesit.

I developed this project because I have always enjoyed crafting and learning how to make different things, and as I have got older, I have spent less time doing these things. I thought this assignment would be a good opportunity to showcase my talents, learn new things, and inspire others to get crafty as well. I wanted to share videos of me doing a wide range of different creative things because I personally enjoy watching these types of videos, so I know there are audiences for this type of content. I initially wanted to be solely a craft channel, however I later decided to incorporate ‘vlogs’ so I had more content to share. I learnt that content curation is a growing area of online media, and when used effectively, can be useful (Wagner, A. 2017). However, I felt as though it would be a bit of a cop out to post photos other people took on my Instagram (for example) when the purpose of my digital artefact was to create and share my own work. 

Some examples of channels I was inspired by include:

Based on conversations with friends face to face, and users online, people (mostly) enjoy creating things but feel as though they don’t have the time or resources to do so. I wanted my content to show audiences that you can make time for crafting, and   I also wanted to inspire people to attend local workshops and studios. I believe it is incredibly valuable to gain new skills and supporting local businesses at the same time is a double win. Wollongong is bursting with creativity, with workshops being held in various different suburbs for various different types of craft, and I wanted to highlight this through my work.

My method was as follows:

  1. Research local workshops in the area
  2. Attend workshop and film what was made
  3. If not, make something at home and film what was made
  4. Edit footage on Adobe Premiere Pro
  5. Create thumbnails on Canva
  6. Upload to YouTube (and later Instagram Television aka IGTV)
  7. Share and promote my work across social media

Critical Reflection.

I first created two videos – a flower press vlog from a workshop I attended with Lia Kim, and a digital art ‘paint with me’ video. These videos were well received and the feedback I got was very supportive, as shown in the graphics below. I was honestly overwhelmed by such positive responses by my peers, and this encouraged me to continue on with my project rather than breaking and re-making. The only re-making I did was expand my videos to Instagram Television as well as YouTube, and also post photos on Instagram more regularly. Not only did I receive feedback online, I also received feedback face to face. This subject has been interesting because you interact with other people’s projects without necessarily knowing who they are. For example, a girl in my BCM111 group project said “You’re Maddy Makes It?” when I told her what I was doing for my DA. Understandably, she hadn’t recognised me because my work focuses on what is in front of me rather than my face, and it was a nice surprise for her to see the artist behind the scenes.

I know if I hadn’t been severely ill for a month, I would have got around to creating more content like a pottery vlog, reacting to my old scrapbook video, embroidery and a basic crochet video. It was my intention to post something new every week however sometimes life happens, and the unpredictable occurrences happen, and we have to go with the flow and do the best we can.


My YouTube subscriber count has not increased greatly, and my Instagram following has had a slow but steady increase. I honestly think this is because most YouTube audiences don’t have an account or aren’t signed in while using the website/app. Generally, users are ALWAYS logged in on Instagram, meaning interacting with content is more accessible and less time-consuming. 

I know if I posted more content and marketed it better than my reach would be higher, and my subscribers/followers would increase. As mentioned in my OP3 blog post, I was never concerned about followers – my main concern was creating enjoyable and high-quality content for people to watch. If only one audience member watched my videos and enjoyed it then that would be okay. If I had more time and energy to put towards this assignment, I would have joined Reddit to reach a whole new audience, I would have spent more time on social media interacting with other artsy pages in the hopes they would follow me back and interact with my content. I truly struggled when it came to marketing and sharing my work, as this is a completely new thing for me and as I had no prior experience, I did feel stuck at times. I learnt that there are optimal times to posting (Williams, H.  2019) and soon realised I was not posting at the ‘correct’ times, and not posting enough.


I was learning how to operate Adobe Premiere Pro as I was editing the videos, so this was a time-consuming task. A five-minute video could take up to 7 hours of editing, including filming time. I underestimated how lengthy this would be. Even if a short video is filmed (for example, my DIY coffee body scrub that took less than 2 minutes to make), it will take a minimum of half an hour to an hour to edit, if not more depending on what needs to be done/what the objective of the video outcome is. I think had I known how to use the programme before starting this project, a lot of time, sweat and *almost* tears would have been avoided. 

What did I learn about my proposed social utility through my project?

I learnt that people do enjoy watching others make things! I received feedback from many audience members informing me they either wanted to try doing what I had done, or they had followed my video and successfully made something! I think it is easy to be caught up in the pursuit of perfectionism, and even though what I created isn’t perfect I am still so proud of the efforts I went to to create the final tangible pieces and the video reflecting the process. I enjoyed learning about glitch art and created my own glitch gif for Twitter, as the ‘imperfections’ in art are really what makes them unique and interesting (Wegert, T. 2017).

By Maddy Findlay.


Wagner, A. 2017. ‘How To Use Content Curation The Right Way’, Forbes, accessed 31 October 2019. https://www.forbes.com/sites/forbesagencycouncil/2017/09/01/how-to-use-content-curation-the-right-way/#6745f80b63ec

Wegret, T. 2017. ‘Perfect Imperfection: How Glitch Art Influences Design’, Shutterstock, accessed 31 October 2019. https://www.shutterstock.com/blog/how-glitch-art-influences-design

Williams, H. 2029. ‘How Often Should You Post on Social Media?’, Meltwater, accessed 31 October 2019. https://www.meltwater.com/uk/blog/how-often-should-you-post-on-social-media/

BCM114: Making #maddymakesit

Welcome to the third and final blog post for my BCM114 Making Media Digital Artefact, Maddy Makes It. I have actually been in the ‘making’ phase all through the semester, with my first video published on August 19.

As of 31 October 2019, I have uploaded the following videos to my Youtube:

My YouTube channel hasn’t really grown in subscribers and I am getting less views. To be honest, I’m making the work for me because even though it is difficult, I enjoy it and I know there are three or four people out there who enjoy them too and that’s all that matters to me. Followers/subscribers don’t really matter for a hobby project like this in my opinion and I think having this mindset has been good because if I was solely focused on growing numbers, I would probably be in a negative and obsessive headspace.

The vlog was very popular, as was my easy DIY coffee body scrub.

This is the data for the traffic sources over the past 90 days. At first, pretty much all of my viewers were coming from Twitter. Since Twitter got flooded with other BCM114 projects, I feel as though students are less inclined to engage with them as there are so many and it is a bit overwhelming to be able to support ~everybody’s!~ work.

This is from the past month and surprisingly my utilisation of Facebook has been successful. I post on my private Facebook profile whenever I upload a video – so family and friends seemed to be interested around 16 October 2019.

In my last post, I discussed ways I wanted to move forward with my Digital Artefact. I created a vlog on YouTube from my holiday at Byron Bay earlier in the year. I am genuinely really pleased with how this turned out. By the time I edited this video, I had learnt some new skills on Adobe Premiere Pro and I believe it is my best edited #maddymakesit video to date. Although it is a four minute video, it took me nearly 7 hours to complete.

I filmed more content for a ‘week in the life’ vlog but I wasn’t happy with how it turned out and I didn’t feel comfortable compromising the quality of my work just to have uploaded something. I tried filming a ‘Get Ready With Me’ (GRWM) three times and they were all a fail! Problems with sound, lighting and uncharged batteries meant that these were not uploaded because half of them weren’t filmed 🙂

I never created an Etsy store because I don’t care about making money off of my work, and I completely forgot about joining the Reddit community. I have never used Reddit before (properly), and on my few occasions using the platform it seemed confusing so I just avoided it altogether because filming, learning how to edit while editing, and going through the processes of marketing & sharing my own work was complicated enough!!! !!! !!!

I did however experiment with IGTV and post more regularly on Instagram (although arguably, still not regularly enough).

I wanted to expand my audience though and decided to start using IGTV. I have uploaded four videos to IGTV and although I was hesitant to do this, I think it was a good step to take because new audiences are engaging with my content as not everybody watches YouTube videos anymore.

When I first uploaded my initial two videos to IGTV, I didn’t realise they needed custom thumbnails. Unfortunately Instagram doesn’t let you go back and edit the thumbnails like YouTube, so I was stuck with what I had originally uploaded. I didn’t want to re-upload the videos with a new thumbnail because I had already gained views on my videos and didn’t want to lose these statistics purely for aesthetics sake.

I learnt my lesson though and created custom portrait thumbnails for my next two videos, using the same photos as the thumbnails for the YouTube video. Although they are slightly different, they are both cohesive to their YouTube counterparts.

It was an aim of mine to use Instagram more in general, not just upload on IGTV. I think because I don’t generally use Instagram *all that much* on a personal level, I found it difficult to be super engaged. I posted every so often and I think if my life depended on it I could have created more content to share, but I wasn’t all too fussed.

As I said in the beginning, my main objective was to create YouTube videos with Instagram as a supplementary tool – not the main one. I haven’t gained too many followers and I know this is because of my lack of engagement. If I followed more accounts and commented on other people’s posts [non-BCM114 student’s] then I imagine I would have gained more followers.

Here are some Instagram analytics from 31 October 20219:

Unsurprisingly, majority of my audience are from Wollongong, Australia. If I had expanded my platform onto Reddit to showcase my work, I think the range of audience members would have broadened.

I think overall, if I didn’t have Influenza A for a month then I would have created more work, posted regularly and engaged more on Instagram and possibly would have taken the time to learn to navigate Reddit. I am really happy with the quality of my work though, as this is a completely new thing for me!

BCM114 has been a big learning curve, and I think having a Digital Artefact should be a full-time job with many team members – not just one full-time uni student doing everything herself!

By Maddy Findlay.

BCM114: Prototyping #maddymakesit


My Digital Artefact ‘Maddy Makes It’ is going fairly well. I created my YouTube channel and Instagram in the ideating phase, because I had a solid idea of what I wanted to do and where I wanted to go with my content (i.e. YouTube as my main platform, Instagram as a secondary platform).

Because I was severely ill for a month, I did not create as much content as I had hoped to. Despite my personal setbacks, I am on track to create more videos and I have a list planned.

My instagram has been slowly growing. I follow more people than I have followers and not a lot of accounts are following me back.

I have utilised Canva a lot to create my YouTube thumbnails. Here are examples of different prototypes I created before picking the final thumbnail:

I felt as though these thumbnails were too minimal and didn’t suit the ‘theme’ of my previous thumbnails. I am striving for a cohesive aesthetic for my YouTube and Instagram platforms.

So far my flower pressing video has been most popular, with my latest DIY body scrub video being least popular.

Majority of my viewers are not subscribers.


I have struggled with audience engagement and I believe it is due to the following factors:

  • Not posting enough
  • Not posting at optimal times
  • Not sharing links at the optimal times
  • Only sharing links once or twice instead of plugging old content as well as new content

Boosting audience engagement is a priority.

Hannah Williams (2019) article ‘How Often Should You Post On Social Media?’ was very insightful because I had not really considered ways to combat user engagement, and I had not been posting nearly enough as she suggested to engage audiences more.

I considered creating a TikTok account, as it was recommended in the lectures and other students have created accounts which seem to be successful. However, I don’t think it is the right platform for me and the content I am creating / the content I want to create in the future. I am a mindful person who takes a lot of care with the work I produce, and to me, for #maddymakesit, using TikTok as a platform seems like a bit of a cop out because I would still have to take the same amount of time to create my pieces, film it, and share it across social media pages. I’d rather share a quality and well-produced video than a short 10 second clip that people will probably forget about. My content doesn’t seem to suit TikTok’s either – the audience for that platform are mainly younger audiences interested in comedy or cooking videos. I have seen a few crafty speedpaint videos on TikTok, but there was less engagement with these because audiences aren’t there at the moment.


I have been considering expanding platforms.

I don’t want to compromise the quality of my work. I will stick with YouTube because I feel proud of the [albeit small] portfolio of work I have created thus far. As per my Beta video, I will experiment with IGTV to see if there is more engagement.

I have 30 subscribers on YouTube which really isn’t many, and I have over 100 followers on Instagram. I feel as though the content I am producing to YouTube is of more quality than the photos I post on Instagram, because I take the time to film, collate and edit footage to create a [hopefully entertaining] video. My concern with experimenting with IGTV is losing the quality of my content, however I think if I try hard enough it has the potential to succeed.

I think more audiences are engaging with Instagram because it is easier to engage with than YouTube, especially as most of my viewers are on their phones. I personally prefer to watch YouTube videos on my laptop or iPad so I can multitask and do other things at the same time. Because of my experiences using both platforms personally, I think audiences do care about the content I make but because of the rapid world we live in, people are used to scrolling through content quickly or watching a minute of a video and getting bored because they aren’t consuming large amounts of media per millisecond.

I have since revamped #maddymakesit, to include #maddymakesitthroughtheday. I know it’s a long hashtag / working title, but I think keeping ‘Maddy Makes It’ as the main brand name with a ‘Makes It Through The Day’ segment keeps it on-brand and relevant to the new content I want to share and create. The new content I am sharing includes day-to-day photos and I will be uploading vlogs to my YouTube channel in the near future.

I am happy with the direction my Digital Artefact is taking, and I will continue to utilise Twitter polls [as mentioned in my Ideating blog post] and work on creating more content and sharing it effectively.

By Maddy.

BCM114 Digital Artefact Beta

Please watch my Youtube Video for more information with a background of my project, screenshots of data, and further explanation of my process so far.


My Digital Artefact for BCM114 is a project titled ‘Maddy Makes It’. My main two platforms are Youtube and Instagram, where I post videos and photos of craft and arts I have done.

My YouTube Channel
My Instagram feed

I am happy with the content I have produced for my Digital Artefact so far however I know I need to do more in terms of user engagement, consistency with content creation and posting, and also the possibility of monetizing my work.

I have created the following breakdown of ways I can further develop my Digital Artefact.

Vlogs on YouTube

After a successful poll on Twitter, audiences informed me they would be happy to see more general content on my channel rather than solely crafts. This opens up a new avenue for content creation, as I can create more videos because I am not crafting as much as I had hoped I would be.

Experiment with IGTV

At this stage, I have no idea how this works. I am not an avid viewer of IGTV videos because I personally don’t use Instagram that often and limit my use on that platform, but I am aware that IGTV’s popularity is on the rise. I would need to figure out how to edit videos for the IGTV format and then figure out how to upload them, so I plan to look into this and test it out with audiences. My audiences watch majority of my YouTube videos on their mobiles, so IGTV content could be more accessible and convenient.

Join Reddit

There is a large crafting community on Reddit and I need to be a part of it. I think it will inspire me to try new crafts, share my crafts in that space and promote my YouTube channel.

Post Regularly on Instagram

Again, I don’t use Instagram much. I’m aware this is a problem, especially with promoting engagements etc. I plan on creating more content and posting often! I am cautious though because I don’t want to jeopardize the quality of my work for the sake of ‘just posting’. I will thoughtfully plan my posts and ensure I have a quality post at least twice a week.

Create an Etsy Shop

I would like to monetize my work if possible, so I plan on creating an Etsy shop when I create more work (embroidery, pressed flower frames, anything else).


My main focus overall is more audience engagement and connecting with crafting communities on Reddit and using hashtags will help facilitate this, so I can further the reach of my Digital Artefact.

By Madeline Findlay

Global Music and Cultural Appropriation

Cultural appropriation is not a new concept. While some believe they are appreciating another culture’s music, style, dress, language or customs through their ‘re-imagination’ and personal creative ‘re-constructions’ – people become perpetrators of cultural appropriation.

“The term cultural appropriation is typically used to describe cultural borrowing that is in some way inappropriate, unauthorized, or undesirable”.

(Arewa 2017)

Elizabeth Enoch (2015) suggests that failing to acknowledge the source of art forms can constitute cultural appropriation. She writes: “Cultural exchange is a beautiful thing, but failing to recognize and honor the people who have created and developed all the things you love about a certain culture is one way you could be appropriating without knowing it”.

Hip Hop Hair GIF
Actress Amandla Stenberg on musical cultural appropriation.

At the heart of cultural appropriation is dismissal. Because cultural appropriation is such a heightened issue in society, people are expected to be aware of it, and if someone blatantly copies something that ‘isn’t theirs’ they are labelled ignorant, rude and disrespectful. When called out on it, perpetrators are generally defensive and unapologetic. If the perpetrator is a high-profile celebrity however, apology statements are quickly issued.

“The biggest issue with cultural appropriation is that it belittles the origin culture, in a way that trivializes an entire way of life, turning it into an accessory”.

(Duca 2013)
Katy Perry was under fire in 2013 after performing in an Asian-fusion costume.

Cultural appropriation in the music industry is significant. The music industry is defined to include ‘the artists themselves, any contributors, what they decide to wear and how they go about displaying another culture’ (Kang 2018). Katy Perry culturally appropriated in 2013 when she appeared on-stage in a ‘Japanese inspired’ outfit. Her choice of attire was problematic because it was labelled as ‘Asian-fusion’ rather than Japanese, as it was a ‘mixed and mashed’ look. Perry has since issued an apology for her actions.

“I will never understand, but I can educate myself and that’s what I’m trying to do along the way”.

Katy Perry on her appropriation

In a similar vein to Perry, Gwen Stefani’s 2004 hit-single Harajuku Girls has recently come to light as severe cultural appropriation. I recall listening to the song when it was released, watching the video on MTV and singing along on my SingStar PlayStation game like there was nothing wrong with it. If only six-year-old me knew what I was contributing to.

After releasing the single and music video, Stefani employed four Japanese back-up dancers to perform with her and act as her entourage. Unlike Perry, Stefani admitted to TIME Magazine she does not regret her actions. This is extremely problematic because Stefani, as an American singer-songwriter, extremely commercialised an aesthetic of a culture she is not a part of, and has no regrets about doing so.

Image result for gwen stefani's harajuku-girls-music video
Image result for gwen stefani's harajuku-girls-music video

“For me, everything that I did with the Harajuku Girls was just a pure compliment and being a fan. You can’t be a fan of somebody else? Or another culture? Of course you can. Of course you can celebrate other cultures”.

Gwen Stefani on Harajuku Girls

In 2019, it is no longer acceptable to excuse actions on ‘being a fan’. We must all take actions to be respectful towards other people and their cultures.


Arewa, O. 2017, ‘Love, Hate, and Culture Wars’, Phi Kappa Phi Forum.

Dockterman, E. 2014, ‘Before We Embrace Gwen Stefani’s Comeback, She Owes Us An Apology’, Time. https://time.com/3524847/gwen-stefani-racist-harajuku-girls/

Duca, L. 2013, ‘Cultural Appropriation 101, Featuring Geisha Katy Perry And The Great Wave Of Asian Influence’, Huffington Post. https://www.huffingtonpost.com.au/2013/11/25/cultural-appropriation-katy-perry_n_4337024.html

Enoch, E. 2015, ‘5 Ways You Might Be Culturally Appropriating Without Realising It’, Bustle. https://www.bustle.com/articles/120573-5-ways-you-might-be-culturally-appropriating-without-realizing-it

Kang, Y. 2018, ‘Cultural Appropriation in the Music Industry’, Medium. https://medium.com/@tofuwagon/cultural-appropriation-in-the-music-industry-e85ba9383f4d

Global Film: Bad Genius

Bad Genius, known as Chalard Games Goeng (‘ฉลาดเกมส์โกง’), is a 2017 Thai thriller/drama film based on a true story of Chinese students involved in an SAT cheating scandal. The film was directed by Nattawut Poonpiriya and produced by GDH Films.

Chutimon Chuengcharoensukying (right) and Eisaya Hosuwan in Bad Genius (Category IIA; Thai), directed by Nattawut Poonpiriya.


Lynn, a straight-A student living with her single father, gains a scholarship to an elite private school in Bangkok. Lynn and her father are lower-class, hard working citizens. After discovering her father was bribed to pay ‘tea money’ to the private school’s corrupt headmistress, Lynn becomes enraged. Wanting to gain an income to support her father, Lynn joins forces with fellow student, Grace, and her boyfriend, Pat. Together they devise extensive stealthy plans to help students cheat tests. Poor-student turned millionaire, Lynn takes her skills to the next level. Teaming up with competition student, Bank, the four students plan to cheat an international college admissions exam. Lynn and Bank travel to Sydney, Australia, to carry out this plan; while Pat and Grace stay in Thailand to continue the work there.



The film exceeded my expectations. It was fantastically produced with excellent cinematography, professional acting by rising Thai stars and a thrilling script. The film was enjoyable to watch and touched on universal issues such as the divide between academically-successful students who come from lower-class families, and rich students who do not prioritise their education. The relationships between Lynn and her father, and Bank and his mother, gave a raw depiction of parents who dedicated their lives to providing their children with a better life with more opportunities. Cultural knowledge about the corruption of Thailand’s private-school systems would aid international audiences in understanding the ‘tea money’ scandal, however the film explained it well. I would argue the film is more culturally hybridised than homogeneous.

Chutimon Chuengcharoensukying’s character in Bad Genius is from a lower middle class background.


Bad Genius became the Thai film industry’s highest-grossing and most internationally successful film to date. The screening in China was most successful – generating $34.7 million in the first eleven days in theatres which was more than the sum of the profits in all other markets, including Thailand (Yuan 2018). The South China Morning Post labelled the film as ‘exam cheating meets heist caper in thrilling Thai crowd-pleaser’.

The film premiered the New York Asian Film Festival in 2017, where Chuengcharoensukying received the 2017 Screen International Rising Star Award for her portrayal of Lynn. Bad Genius opening the festival was a monumental moment for director Poonpiriya and the cast.

“We’re really stepping off the beaten path of the ‘big three’ of Asian cinema: Japanese, Korean and Chinese-language cinema. This reflects our high regard for the originality of contemporary Southeast Asian cinema”.

Samuel Jamier, NYAFF Executive Director, on choosing Thailand’s Bad Genius as the premiere film
This image has an empty alt attribute; its file name is bad-genius.jpg

Bad Genius was also featured at the Vancouver International Film Festival, BFI London Film Festival and Fantastic Fest (located in Texas, where it won Best Feature); as well as being released to international cinemas in China, Korea, Australia, Japan, Philippines, Laos, Singapore, Indonesia, Vietnam, Malaysia and Brunei.

Hollywood Adaption:

Picturestart and Picture Perfect have acquired the rights for a Hollywood remake of the film, with Eva Anderson as scriptwriter. Online reviews of the original film display hesitation for the American remake, with users’ commenting: ‘I already shudder to think of how they’re gonna absolutely wreck it’.


Brzeski, P. 2018, ‘Why Foreign-Language Releases Are Thriving in China: Recent movies from India, Thailand and Europe have struck gold in the Middle Kingdom’, Hollywood Reporter, vol. 424, no. 10, pp. 92-94.

Philstar Global, 2017, ‘International hit Bad Genius comes to Philippines this October’. https://www.philstar.com/entertainment/2017/10/07/1746440/international-hit-bad-genius-comes-philippines-october

Shackleton, L. 2017, ‘Bad Genius to open New York Asian Film Festival’, Screen Daily. https://www.screendaily.com/news/bad-genius-to-open-new-york-asian-film-festival/5118301.article

Welk, B. 2019, ‘High Schoolers to Take Down Rigged College Admissions System in Remake of Thai Heist Movie Bad Genius‘, The Wrap. https://www.thewrap.com/high-schoolers-to-take-down-rigged-college-admissions-system-in-remake-of-thai-heist-movie-bad-genius/

Yuan, Y. 2018, ‘The Plot Thickens’, Beijing Review, vol. 61, no. 5, pp. 40-43.

Global Television

From a young age, I was an avid consumer of television. Of a morning I would turn on ABC Kids and watch the cartoons and shows with my mum on the small, square box TV hanging on the wall. My favourite shows included The Wiggles, Play School, Hi-Five and the Bananas in Pajamas. When my grandparents picked me up from preschool, I’d go to their house and watch what was on the 111 Hits channel on Austar. I loved watching The Brady Bunch, Sabrina the Teenage Witch, I Dream of Jeannie, The Nanny and Bewitched.

I then learnt more channels other than 111 Hits existed… and that started by obsession with Disney Channel. Like many other twenty-year-olds, I became a massive fan of Lizzie McGuire, Kim Possible, That’s So Raven, and Hannah Montana (to name a few). As a young consumer I think I was subconsciously aware that most of what I watched was American television. Because I grew up watching television shows produced in either Australia or America, there was certainly a gap in the diversity of the material I was consuming.

img.jpg (2000×1135)

What does this tell us about the world I live in?

In the 1930s, the American television industry ‘achieved a position of global dominance; shifting to the issue of television policy in the 1950s, the debates have intensified since the 1980s, with the decline of the public service broadcasting model and the strengthening position of American television products’ (Jacobs, 2012).

America emerged from World War II as the dominant global economic power and was well-placed to export its cultural products to the world, including Australia.

Jacobs (2012)

Despite the growth of the American television industry, the Australian television industry boomed too. Under the Broadcasting Services Act 1992, 55% of programmes broadcast between 6am and midnight must be Australian-produced. Australian-produced shows became increasingly popular, including Neighbours, Kath & Kim, Home and Away, House Husbands, A Place To Call Home, Janet King, Rake and Underbelly, to name a few.

The world I live in has been influenced by American and Australian television, with a shift emerging now as a young adult with an eclectic range of programmes to choose to watch. International productions have become increasingly popular and television stations are realising this.

Free-to-air channels in Australia such as SBS and the ABC have always showcased a wide-range of various television shows from across the world; and with the rise of streaming services, more new global television shows are available to watch. However, there is the issue of having to go out of your way on streaming services (e.g. Netflix and Stan) to view international content; because these services show users the type of content it believes users would like to see, based on their region and previous watch history.

This image has an empty alt attribute; its file name is Midsomer_murders_logo.jpg

Tiffany Bergin’s article, ‘Identity and Nostalgia in a Globalised World: Investigating the International Popularity of Midsomer Murders’, explores the globalisation of the popular UK television programme through its evocation of the British crime drama genre and nostalgia. The first episode aired in 1997 and ‘is one of the most successful British television exports of all time; by 2004, for example, it had been sold to 204 countries’ (Bergin 2012).


Bergin, T. 2012, ‘Identity and Nostalgia in a Globalised World: Investigating the International Popularity of Midsomer Murders’, Crime, Media, Culture, vol. 9, no. 1, pp. 83-99.

Jacobs, R. 2011, ‘Chapter 12: Entertainment Media and The Aesthetic Public Sphere’, The Oxford Handbook of Cultural Sociology, edn 1, Oxford University Press Inc, United States.

Screen Australia, Television Industry Content Regulation